Their Lives in Miranda July’s Camera

    在大多数情况下，一部电影有三个组成部分 - 一个开始，有高潮和结束，但对于那些独立电影，这可能不是真实的。米兰达七月的独立电影，我和你，每个人我们都知道，就是一个很好的例子，因为它几乎没有一个高潮。米兰达七月采用了录像作品，在这部电影来介绍这些字符，作为电影的转折点，并围绕她的故事创造了疏离的气氛。

                                                           Their Lives in Miranda July’s Camera

    In most cases, a movie has three components—a beginning, a climax, and an end, but for those independent movies, this might not be true. Miranda July’s independent movie, ME AND YOU AND EVERYONE WE KNOW, is a good example, because it has hardly a climax. Miranda July employs her video art pieces in this movie to introduce those characters, to serve as the turning of movie, and to create alienated atmosphere around her stories. 
    To begin with, ME AND YOU AND EVERYONE WE KNOW has a plain start. Two people are watching sunset, motionless and calm, and came a voice of a girl, Christine Jesperson. It successfully arouses viewers’ attention and as they listen carefully they will find it is a scene about ritual, a vow of coming togerther. This video gives a strong sense of the lonely circumstance of Christine. And what is clever is that after Christine closes her camera is the “silent” breaking up of Richard Swersey, which indicates the breach of his former vow. Thus, this video, as implication, reveals to audiences that the life situation of the two main characters, Christine and Richard, in a correspondent way.   
    As the movie spreads, as what is introduced, though several lines of stories move on, there is no evident climax in this movie. However, one of the video art of Christine, or say, of Miranda, does act as a tone-changer. After the owner of the exhibition hall, Nancy Herrington, accidentally switches on this video, little magic happens and the tone of this movie becomes warmer. As Christine speaks, she actually reveals the deepest fear in Nancy Herrington’s heart—the fear of awkwardness of greeting (meeting) strangers. This video strikes Nancy’s heart, she starts to rethink about Christine, whether she is up to the standard of the show and to reflect on herself, what she is hiding of. This video has deepened the meaning of this movie. It leads characters and actually every one of us to rethink about ourselves, what we are afraid of in nowadays society in relationship with the others.
    Overall there are around 6 pieces of video art pieces exist in this movie, completely or just implied. No matter they have complete story or theme or not, as whole, they keep audiences away from sympathizing with characters in this movie. Every time when one starts to feel for one of the characters, the early-maturing 7-year-old boy, or his numb elder brother, the girl who denies her own fancy of future family in front of her friends, the two lesbian “sisters”, or the pathetic guy who can only telling obscene words but fail to face himself, or poor Richard or lonely Christine, a video pops up, alienating the situation of characters, gives an indifferent view to audiences.  
To conclude, these videos are sometimes abstract, funny, lonely, or weird but they knit those plots together and complete this movie instead of stories but emotions. Miranda exploits video art to give this movie a special taste that is different with other commercial movies. 


51Due网站原创范文除特殊说明外一切图文著作权归51Due所有；未经51Due官方授权谢绝任何用途转载或刊发于媒体。如发生侵犯著作权现象，51Due保留一切法律追诉权。